Show Design and Wind Arranging for Marching Ensembles Thesis Presented in Partial Fulfillment

172 Pages·2014·14.41 MB·English

Show Design and Wind Arranging for Marching Ensembles

Thesis

Presented in Partial Fulfillment of the Requirements for the Degree Master of Music in
the Graduate School of The Ohio State University

By

John Michael Brennan, B.M.E.
Graduate Program in Music

The Ohio State University
2014

Thesis Committee:
Professor Daryl W. Kinney, Advisor
Professor Timothy Gerber
Professor Thomas Wells
Director Jonathan Waters
Copyrighted by
John Michael Brennan
2014
Abstract
The purpose this study is to illustrate current trends in show design and wind arranging
within the marching band and drum corps activity. Through a comprehensive review of
literature a need for further study on this subject was discovered. Specifically, texts from
the 1950s, 60s, and 70s focused primarily on marching band arranging practices with
minimal influence of show design. Since the 1980s, several documents have been written
that discuss show design with some degree of detail, but have neglected to thoroughly
address changes in marching band arranging. It is the aim of this thesis to discuss current
trends and techniques in marching band wind arranging, and the higher level of detail
placed into show conceptualization used by drum corps, competitive, and show band.
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Dedication
To Rachael, the most patient, loving, and caring wife a husband could ever ask for.
To my daughter Ellie Ann, who I cannot wait to meet in the coming weeks.

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Acknowledgements
First and foremost, my family has helped me immensely both in my personal and
professional life. It is without their support, witty commentary (especially from my
brother’s), and encouragement that I have been able to work in a field I am passionate
about. My wife Rachael has been the rock of our home over the last two years throughout
my master’s studies. Our two dogs, Buckey and Urban, have provided countless moments
of laughter during stressful times, for which I am very grateful.
I have been given numerous opportunities to write music for The Ohio State
University Marching & Athletic Bands since the midst of my undergraduate studies. Jon
Waters, Director of The Ohio State University Marching Band, and director emeritus Dr.
Jon R. Woods put faith and support into me while I was a young writer. Your desire to
give me opportunities has allowed my writing to mature over the last eight years.
I would also like to thank the brilliant and innovative minds that dedicate their
hearts and souls to the OSUMB: Jon Waters, Dr. Chris Hoch, Mike Smith, Aaron Bell,
and team of staff arrangers. We have all been afforded the opportunity to “work” for one
of the most storied programs in both collegiate athletics and music. With this opportunity
comes great responsibility and humility. To be able to work with you for the last four
seasons has been an incredible experience. I am excited to see what we are all able to
contribute in the future.
Dr. Kinney, your guidance throughout my undergraduate and masters level
studies has been invaluable. I cannot thank you enough for how much you have
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influenced my philosophy regarding education and approach to composition. Your help,
assistance, and support as my advisor throughout my thesis work has been steadfast: for
that, I am ever grateful.
To the students past, present, and future of The Ohio State University Marching
Band, I would like to thank you for passion and commitment to the organization and the
university. Maintaining tradition is no easy task and to constantly strive to elevate the
standard of the OSUMB is inspiring. As an alumnus of the organization I am in awe of
the product that is seen and heard on fall Saturdays in Ohio Stadium. As a member of the
arranging staff, I will never take for granted any opportunity to write for you. To the
bands of 2012 and 2013 seasons, you all are very special to me. Thank you for the
memories.
Several educators have had a tremendous impact on my life. It is said, “it takes a
village to raise a child.” Each of you has helped mold me into the educator and arranger I
am today. I cannot thank you all enough for what you have done. In no particular order I
would like to thank Daniel Gleich, Kate Fitzpatrick-Harnish, Jim Hill, Dr. Tim Gerber,
Dr. Thomas Wells, Jon Waters, Dr. Chris Hoch, Professor Richard Blatti, Dr. Russell
Mikkleson, Dr. Mike Stewart, Dr. Jon Woods, Bob Weimer, Jim Swearingen, Dr. Paul
Droste, Rick Eckler, Dr. Daryl Kinney, Mike Smith, Jay Bocook, and Jay Dawson.

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VITA

1985………………………………………. Born, Columbus, Ohio

2003………………………………………. Diploma, Northland High School
Columbus, Ohio

2009………………………………………. Bachelor of Music Education
The Ohio State University – Columbus, Ohio

2010 – Present……………………………. Staff Music Arranger
The Ohio State University Marching Band

2012 – 2014………………………………. Graduate Teaching Assistant
The Ohio State University – Columbus, Ohio

2013 – 2014 ……………………………….Wind Arranger / Show Designer
Bishop Watterson High School – Columbus,
Ohio

2013 – 2014 ……………………………….Wind Arranger / Show Designer
Newark High School – Newark, Ohio

2014………...……………………………...Wind Arranger / Show Designer
Dublin Jerome High School – Dublin, Ohio

2014………...……………………………...Wind Arranger / Show Designer
Delaware Hayes High School – Delaware,
Ohio

Fields of Study
Major Field: Music

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Table of Contents

Abstract……………………………………………………………..ii
Dedication…………………………………………………………..iii
Acknowledgements………………………………………………....iv
Vita………………………………………………………………….vi
List of Tables……………………………………………………….viii
List of Figures………………………………………………………ix
Chapter 1 Introduction………………...……………………………1
Chapter 2 Review of Literature……………………..……………...10
Chapter 3 Show Design...…………………………………………..32
Chapter 4 Arranging for Winds……...……………………………..71
Chapter 5 Conclusion and Final Recommendations for
Arrangers………………………...………………………143

References…………………………………………………………..159

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Listing of Tables

Table 1 2013 Carolina Crown Staff…………………...…….55

Table 2 Sample Storyboard………………………………….66

Table 3 Woodwind Doublings 1…………………………….92

Table 4 Woodwind Doublings 2…………………………….93

Table 5 Movement III: Zelda Storyboard………………..….157

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Listing of Figures

Figure 1 Instrument Power Ranges.…………………………78
Figure 2 Large Band Instrumentation..………………………81
Figure 3 Small Band Instrumentation………………………..83
Figure 4 Drum Corps Brass Instrumentation…….…………..85
Figure 5 Clarinet Doubling with Part Inversion……………..95
Figure 6 Harmonized Melody within the Trumpet Section.....96
Figure 7 Unison Melody in the Trumpet Section……………97
Figure 8 Dominant and Supporting Doublings……….……..100
Figure 9 Open Orchestration within the Low Brass Choir.....102

Figure 10 Closed Orchestration within the High Brass
Choir.……………………………………………….103

Figure 11 Closed and Open Orchestration within the Low Brass
Choir………………………………………………..104

Figure 12 First Part Divisions…………………………………105

Figure 13 Composite Rhythm and Simplification…………….112

Figure 14 Mixed Meter………………………………………..114

Figure 15 Horns to the Box……………………………………117

Figure 16 Backfield……………………………………………118

Figure 17 Example of Countermelody…....……..…………….121

Figure 18 Hemiola……………………………………………..123
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